The Role of Craft in Special Education: Insights from the CRAEFT Program

Abstract

This study explores the potential of craft-based activities in the context of special education, focusing on a papier mâché sculpting workshop implemented at the Special Kindergarten of Komotini, Greece, as part of the Horizon Europe Craeft project. The initiative aimed to assess how such creative activities could enhance the learning experience of children with intellectual and motor impairments, foster socialization, and develop fine motor skills. With reference to literature in art therapy, craft education, and inclusive pedagogy, the study applied a mixed-methods approach combining observation, visual analysis, and a survey. The findings indicate that, despite varied levels of participation based on individual needs, all students engaged meaningfully with the materials and activities. School professionals observed increased student engagement, emotional comfort, and communication, while also identifying the activity as well adapted and replicable in similar contexts. The results highlight the value of crafts in special education, not only as a sensory and cognitive stimulus but also as a means of fostering inclusion and self-expression. The study concludes with a call for further research into the role of tactile materials and hand gestures in relation to specific impairments.

1. Introduction

Crafts and arts are tied to the development of manual and intellectual skills of humans. Indeed, the beginning of history (the Paleolithic Age) is defined as the era when humanity started using stone tools. From that point in time and onwards, expertly crafted artefacts are a sign of advanced civilization, which implies higher cognitive functions from the society members. As such, mastering a craft has been viewed as a path for an individual to achieve such higher cognitive functions.

In ancient Greece, the term techne was used, while in Latin, the word ars was employed to imply skill linked to craftsmanship [1,2]. According to Falguières [1], following Aristotle, techne involves skilled creation and is distinct from routine practice. The Old English word cræft suggested both strength and skill. Similar to Aristotle’s view on techne, King Alfred the Great (871–899) began using cræft to denote “a quality or state of being; an almost indefinable knowledge or wisdom” [3]. This indicates that craft encompasses not only physical skill but also mental prowess. Artisans were adept in various trades, such as glassmaking, goldsmithing, and pottery. During the Renaissance, a distinction between artists and artisans emerged as products began to be valued more for their aesthetic qualities than their practical utility. The Industrial Revolution further altered this dynamic with the introduction of machinery and automation, leading to a decline in traditional craftsmanship [4].

The craft movement experienced a revival in England in 1887, inspired by the ideas of architect Augustus Pugin, writer John Ruskin, and designer William Morris, marking the beginning of the Arts and Crafts movement [3]. The Arts and Crafts Exhibition Society held annual exhibitions at the New Gallery in London, showcasing both decorative and fine arts [5]. Walter Crane, the Society’s founding president, stated that their goal was “to provide designers and craftsmen with a platform to display their work to the public for its artistic value, thereby elevating decorative art and handicraft to the same level of recognition as easel painting, which had previously dominated the public’s perception of art” [6]. According to Kárpáti [7], it was during that time that art education emerged as a field in Central and Eastern Europe when “A central curriculum for drawing (German Zeichenunterricht), a school discipline introduced in all parts of the Austro-Hungarian monarchy in the late nineteenth century, focused on the skills needed in craftsmen” (p. 1–2).

In 1919, the Bauhaus movement emerged in Germany, introducing a conceptual approach that established the modern concept of “design” as the functional development of objects, buildings, or processes. Walter Gropius, the founder of Bauhaus, explicitly stated in the Bauhaus manifesto, “let us create a new guild of craftsmen, without the class distinctions that create an arrogant barrier between craftsmen and artists” [8]. Students at the Bauhaus school were trained to become proficient in both art and craft, meaning they were taught to conceive artistic ideas and designs, as well as execute their manufacturing. To achieve this, Gropius assembled a faculty of distinguished artists, known as “masters”, and established workshops in various disciplines, including architecture, sculpture, metalworking, pottery, glassmaking, printmaking, stagecraft, advertising, photography, wall-painting, and weaving. The Bauhaus philosophy introduced a new pedagogical model that incorporated creativity with design and manufacturing. By the 1950s, crafts and design had been integrated into art education in many European countries, while France was the first country to make visual arts a compulsory class [7] (p. 2).

While arts and crafts were being integrated into the educational systems of many European countries, another educational field was emerging. In the nineteenth century, a French physician, Jean-Marc Gaspard Itard, worked with children with impairments and realized that they can be educated too. His methods included systematic instruction, sensory stimulation, and the enhancement of communication [9]. This field is called special education, and today, “[it] involves the development, identification, and application of instructional practices to best educate these most difficult-to-teach students” [10]. Efforts focus on communication, collaboration, and student engagement for effective and active learning experiences. Nevertheless, there is not sufficient research on methods and educational procedures about specific impairments [10,11,12].

This research aims to illustrate a case of exploring the impact that craft activities can have in the special education context. Craft (and art) concern the development of manual and intellectual skills to accomplish the construction of an object. These skills are important in the context of special education because they can foster active learning, including intellectual and motor development, through creative and collaborative activities.

1.1. Context

The current study was performed as part of the Craeft project. Craeft is part of the Horizon Europe research and innovation program. It aims to understand craft-making processes as interactions between the mind and the world through sensory experiences and actions. The project focuses on formal knowledge representation to preserve and computationally understand human creative tasks, developing specialized tools to assist these processes. Generative simulations and virtual imagery are used to evaluate representations of intangible concepts like tacit knowledge, and craft-specific simulations serve as tools for learning and optimizing workflow efficiency.

The specific research discussed here is part of the Valorisation Pilot, led by the Piraeus Cultural Foundation (PIOP). PIOP is a non-profit foundation dedicated to preserving and transmitting Greece’s craft-related and industrial cultural heritage to future generations. For Craeft, PIOP chose to use their existing paper workshop. This workshop familiarizes the public with the nature of paper, teaching participants about the history of paper-making. Participants learn about the paper manufacturing process by recycling used paper and transforming it into handmade objects through papier mâché artworks. For Craeft, the workshop focuses on sculpting with papier mâché because it resembles pottery, specifically hand sculpting. Participants will learn this Do-It-Yourself (DIY) crafting method and recreate it. Digital instructions will be created and uploaded to the program’s website to provide ongoing support and resources for participants.

1.2. Objectives

This article discusses how a craft-related activity can offer new experiences to children with intellectual and motor impairments in several domains of their development, including social life, manual skills, and learning opportunities. Furthermore, the school professionals’ perspective is investigated to see their intention to adopt new school activities that relate not only to the children’s development but also constitute sustainable practices. The workshop was implemented at the public Special Kindergarten of Komotini in Greece, and it was organized by PIOP and the Democritus University of Thrace. This collaboration provided an opportunity to research the workshop’s implementation in a more inclusive environment and assess its contribution to special education.

1.3. Structure

This article is divided into four sections: Literature Review, Materials and Methods, Results, and Discussion. The section referring to the literature review consists of four sub-sections related to special education (definition, educational approaches), art therapy and education, crafts and education, and arts and crafts in special education. The purpose of the section is to cover the existing literature on the topic of craft and special education, and set the context of their interrelation. Materials and Methods include the workshop description, information about the research sample, research tools, and the data collection and analysis procedures. The Results section outlines the research results according to the topics of the main assumption. The relation of the results to the literature is noted in the Discussion section, where further research is also recommended. Visual material that was also used in the analysis is embedded in the text.

2. Literature Review

This section includes a literature review of the research’s theoretical background. It aims to give an overview of the disciplines and practices of this venture. This section is divided into three subsections, highlighting the core background, which leads to the last (fourth) subsection that is more relevant to this project. The first section gives an overview of what special education is, how it is defined, and what educational approaches exist. The second and third subsections review the role of art therapy and craft in (mainstream) education, accordingly. The fourth subsection outlines the role of art and craft in special education as it has been documented in the literature. Both terms (art and craft) are included in the same subsection because of limited sources and available research on the topic.

2.1. Special Education

2.1.1. Definition

Special education is different from general, mainstream education in that it refers to individuals rather than the majority of students [13]. Rumrill et al. [10] note that “special education involves the development, identification, and application of instructional practices to best educate these most difficult-to-teach students”. These “most difficult-to-teach students” are people with impairments and disabilities. The Northern Officer Group defines impairment as “an injury, illness, or congenital condition that causes or is likely to cause a loss or difference of physiological or psychological function”. Disability is “the loss or limitation of opportunities to take part in society on an equal level with others due to social and environmental barriers” [14]. Impairment thus refers to health issues, while disability refers to social barriers that disable impaired people from reaching their abilities and goals.

Impairment categories originated from medical classifications that aimed to assess children’s learning difficulties. Nevertheless, these categories, such as intellectual impairment or autism spectrum disorder, fail to recognize developmental criteria that would support learning [15]. In that way, teachers are left with the knowledge of what they cannot change rather than with children’s abilities [16]. Norwich [15] notes that there has been no significant progress on classification for the past 25 years because of the lack of a standardized and evidence-based approach. However, he describes that the existing categories aim “to determine the patterns of exceptional child functioning relevant to education, the underlying disorders, disabilities, or impairments to the child’s functioning in education, the kinds of exceptional placement and general provision (by location, kinds of resource allocation), and the kinds of curriculum design and content, and teaching strategy”.

One of the most updated classification models is the International Classification of Functioning for Children and Young People (ICF-CY) of the World Health Organization [17]. It exists online in the form of a semantically annotated database, and it identifies four basic categories: body functions (physio- and psychological), activities and participation (that is, limitations to performance and capacity qualifiers in life areas from basic learning and watching to composite areas such as social tasks), environmental factors (contextual factors referring to the physical, social, and attitudinal environment in which people conduct their lives), and body structures (impairments in anatomical parts of the body).

2.1.2. Educational Approaches

To address the specifications of the afore-mentioned categories in the educational context, teachers and specified teams of professionals are called not only to adapt curricula to the students’ skills and abilities but also identify and design the appropriate teaching techniques and environment [13,18,19]. Kurth [20] reports on the limitations of effective learning in segregated special education classrooms and shows how the majority of students are passive learners, while, at the same time, they engage minimally with other peers. There is also evidence against the notion of the “ceiling” of educational development that people with impairments will reach throughout their lives. A study with children with Down syndrome showed that inclusive educational environments favored their literacy and numeracy skills, as well as their social relationships. The writer mentions that “The so-called ‘ceiling’ discussed in past literature was almost certainly the result of the lack of medical care and educational and social experience” [21].

Collaboration among children and their peers, as well as children and their teacher, fosters active learning, taking on responsibilities, developing social relationships, and participating in the classroom life [18,22,23,24]. Consequently, student engagement has been the main feature to assess the effectiveness of teaching methods and projects [25]. Communication is another important aspect because it signifies the transmission of knowledge. Atkin [23] identifies that interactive communication can lead to deep thinking and learning through a stimulating dialogue. For children with autism, visual communication has proved more efficient [26].

Moreover, the concept of transformability supports that “there is always potential for change in current patterns of achievement and response, that things can always change and be changed for the better, sometimes dramatically, as a result of what happens in the present, in the daily interaction of teachers and students” [18]. This aligns with the Response-to-Instruction (RTI) approach that emphasizes the early response to signs of low educational development and the belief that it is important to recognize special educational needs from the early years to help the children’s linguistic, socioemotional, and self-regulatory needs [15,27].

Difficulties have also been a part of special education. Florian [22] identifies difficulties in recognizing and classifying impairments, as well as variations in teaching outcomes and approaches based on social class. While Rumrill et al. [10] focus their research on “determining the relative educational efficacy of a given procedure”, literature reviews suggest that there are no large research projects in matters of participant number and long duration, or reports on specific impairment characteristics and impact of educational methods [11,12].

2.2. Art Therapy and Education

Art therapy is a process that has been used in mainstream educational settings. As a field, it lies at the intersection of art and psychology. It is defined as a dynamic therapeutic process that invites individuals to actively participate in their healing through the creation of art [28]. Art therapy engages and activates the human body, requiring participation, involving movement, and enabling authentic communication to explore personal identity [29]. It appears to help both children and adults reduce their levels of anxiety.

In education, research has shown that art-related activities promote students’ engagement and relaxation. In a qualitative study conducted by Deboys at al. [30], 14 children attending primary school in the United Kingdom who participated in individual art therapy sessions reported experiencing a range of emotional benefits. Although many parents did not fully understand the art therapy process, they appreciated its pedagogical value, as it allowed children to be active and creative participants. Eight of the fourteen children accounted for personal change. These changes included improved mood, increased self-confidence, enhanced communication, and greater resilience in the context of learning.

In a longitudinal study [31], which spanned over five years, 149 students aged 5 to 12 were divided into 25 small groups. The researchers developed ArtBreak, a short group-based program designed by a school counselor to provide children with restorative experiences during the school day. The program offered students the opportunity to relax, engage in creative activities, and cultivate social and emotional skills. Data were collected in multiple formats, including field notes, comics, children’s journals, photographs, and qualitative interviews with participating children. Following the art-based intervention, finger temperature measurements were taken and revealed an average increase of 4.6 degrees Fahrenheit, indicating a stress reduction [31]. Peripheral temperature tends to decrease when the sympathetic nervous system is activated, typically when the body is under stress or tension, whereas an increase in temperature signals a state of relaxation.

The artistic materials used in various art interventions are of great importance, as they serve multiple purposes, with each material having unique therapeutic properties. The use of visual arts is intrinsically linked to the choice of the artistic medium. These materials appear to have the ability to either soften or elevate the emotional state of the client, influence the freedom of self-expression, and break down psychological defenses. For this reason, the properties of the materials are carefully considered [32].

2.3. Crafts and Education

There is limited literature focusing on crafts and their potential role in education. From past but still relevant research, Sumner [33] (p. 139) acknowledges that craft learning in a school environment aims to progressively develop students’ skills, both physical and mental, and help them discover their craft abilities. It involves teaching various techniques using hand and machine tools to restructure materials and create products. The environment should foster purposeful creative activity; integrate technology, craft, social history, and aesthetics; and help students contextualize their work. The process also includes teaching design concepts and material usage to help students form judgmental criteria and evaluate their craftwork against set criteria. Additionally, it relates craftwork to other disciplines, promoting a holistic understanding of knowledge in contemporary society. It also aims to help students adjust to society and their material environment by expanding their interests and attitudes in craft-related activities. Finally, it includes assessing the achievement of detailed objectives and their contribution to the overall aims. Those aims were inferred by researching a variety of crafts.

Taxonomic objectives were defined by single crafts and examined the curriculum’s purpose. Those are divided into the cognitive, affective, and psychomotor domains. The cognitive domain regards the knowledge acquisition that, with time, becomes abstracted, that is, from knowledge of the basics, such as terminology, to deep comprehension, analysis, and, finally, the ability to evaluate and make judgments. The affective domain refers to an internalization process of receiving information, responding, and valuing the learning process. Finally, the psycho-motor domain concerns the motor-manipulative skills that start from a simple movement to a finely controlled one [33].

In a similar context, Rönkkö and Lepistö [34] revise the benefits of teaching craft-related subjects in the school curriculum—in that case, for primary education in Finland—by including an entrepreneurial mindset in the learning process. As Sumner [33], they argue that “Hands-on activities support the development of the students’ comprehension skills and creativity as well as allowing them to experience the world and make conscious decisions based on that experience” [34] (p. 48). Consequently, learning a holistic craft process—from idea conception to design, production (including material choice and manipulation), and, finally, the assessment of the final product—enhances students’ self-confidence, sense of responsibility, independence, patience, and knowledge of their cultural heritage. Applied in a school environment, Rönkkö and Lepistö [34] also show that the students’ decision-making process was affected by their prior experience and the feedback of fellow students and teachers. Dialogue proved an important aspect where “The students took responsibility for their learning and for the interaction with others” [34] (p. 58).

To quantify craftsmanship and research its role in schoolwork, Thorlindsson et al. [35] developed a scale based on craftsmanship’s characteristics as they have been laid out in the sociological literature (e.g., [36,37]). Craftsmanship’s culture consists of, first, intrinsic motivation, emphasis on the task, and assessment; second, it concerns a holistic approach; and third, it focuses on skill. The authors conducted the research with a nationally represented sample of Icelandic adolescents and measured craftsmanship’s characteristics about general and school-related meaninglessness, sport participation, and school performance. Their results show that, scientifically, the craftsmanship scale proved solid to conduct quantitative research (for the first time). Empirically, high levels of craftsmanship displayed a reduction in the feeling of meaninglessness for the adolescents and a correlation with high academic achievement. Furthermore, those who reported high levels of craftsmanship appeared to be more active in sports, too. It is worth mentioning that in the Icelandic context, sport is seen to be characterized by craftsmanship, such as intrinsic motivation and skill development [38].

Finally, at the university level, Leong and Lim [39] encounter the benefits of implementing craft learning processes in experiential learning. More precisely, they find that craft apprenticeship involves learning about the object (the “thing”); the objective (desired outcome); the skills (movement and tool); and the theme, that is, “tales or metaphors, expressed as mnemonics or poetic utterances like songs or sayings, and refer to general principles that connect seemingly disparate parts of a craft for the purpose of “portability”: the elevation of practitioners’ skills to higher levels and broadening their skills beyond their areas of specialties” [39] (p. 110). They designed their experiential learning course around the pair of object–theme to promote both experience and reflection, accordingly, among the participating students. Experience refers to the observation not only of the object but also of its practitioners. Reflection looks at the relationships of the object with a general theme, such as conservation practices and economic development.

In summary, craft in education is seen by scholars as a topic that enhances the students’ self-development, either by working independently or in collaboration with others, motor improvement, and contextual knowledge.

2.4. Arts and Crafts in Special Education

Since the 1980s, the inclusion of arts and crafts in special education curricula is characterized by their adaptability to the students’ individual needs [40]. Lavric and Soponaru [41] acknowledge through their systematic review of articles related to art education and inclusiveness that “art education emerges as a transformative tool that goes beyond individual skill development, fostering a sense of belonging and empowerment in society” (p. 111).

Warmbolt [42] conducted a four-year study about the role of visual arts education for children with impairments and concluded that students benefited in three distinctive domains: behavior, communication, and learning. Behavior includes tangible and intangible aspects. They define tangible behavior as social interaction, creativity, calmness, and a feeling of relaxation in the classroom. Intangible behavior refers to inner processes, such as self-esteem, independence, self-expression, and enjoyment.

Similarly, in a 2023 study conducted by Lavric and Soponaru at Cuza University in Iași, Romania, 20 students with impairments, aged 8 to 11, participated. They were divided into two groups: a control group and an experimental group. Both groups took part in weekly art interventions for ten weeks. Initially, anxiety, empathy, and prosocial behavior were measured using specific questionnaires completed by the caregivers at the beginning and end of the intervention. After the intervention, a significant anxiety reduction was observed, along with a notable increase in both empathy and prosocial behavior [43].

Recent research also highlights the effectiveness of art therapy in the psychological reformation of children with neuro-psycho-motor deficits, particularly in improving the socio-emotional aspects of their lives, such as self-esteem and social activity [44]. In children with tetraplegia, art therapy appears to have a positive impact on their self-worth, as well as their social and personal lives [45].

Communication is an important aspect of special education, as we stated earlier. For children with impairments, who often face significant language deficits and, consequently, difficulties in expression, art therapy is particularly suited to support their socio-emotional development. It offers children a different, holistic, analogical, and metaphorical form of communication that transcends the limitations of words, helping them to express themselves [46] (p. 72). In their research, Bingham et al. [42] explain that students showed two sets of communicative skills: expressive and receptive. Expressive skills include not only the development of verbal communication, but also finding new ways to communicate through artworks and art processes. Receptive communicative skills encompass the ability to learn following instructions during an activity.

Learning is the ultimate goal of education, and in this case, Bingham et al. [42] divided their outcomes into general learning abilities and art-related learning. Students were shown to learn to respond to a different instructor other than their everyday teacher. Also, the art classes boosted the children’s ability to attend, stay focused, and follow step-by-step instructions. According to the participating teachers, this helped enrich the children’s knowledge and “Specific goal areas included sensory and fine motor skills, socialization, behavior, cognition, communication, and academic curricula such as literacy and numeracy” [42] (p. 9). Art-related learning included gaining knowledge about art as a process and completing a task. Furthermore, art as a subject allows students to explore and be exposed to different modalities, including both techniques and materials.

The authors conclude that “Embodiment during art activities reinforces notions of learning by experiencing them through the senses” [42] (p. 11). A similar acknowledgement is made by Fajrie et al. [41]: “The role of art education in motivating and engaging disabled learners is a consistent theme across various studies, showcasing the diverse ways in which art contributes to their learning experiences” (p. 111). While art therapy does not restore the health of children with impairments, it allows them to regain control over their actions, relax in a safe environment, release physical tensions, and symbolically express their fears [47].

Despite the reported benefits of arts in special education, there is no explicit evidence of the role of crafts. Although both terms might encompass similar practices, such as hands-on experiences with materials and tools, and communication to understand the tasks at hand, the lack of craft, rather than art, activities points to their philosophical distinction and separation. Another lack in the art-related literature is that there are no sufficient ways to assess such activities in a special-education context. The causes of that phenomenon appear to be either because of a lack of resources for long-term research or appropriate tools to measure them [42,48].

3. Materials and Methods

Section 3 outlines the methods and methodology that were used and followed throughout this research. It is divided into five subsections. First, a description of the workshop provides an overview of the crafting activity. Second, a thorough outline of the participants’ sample includes the number of children and their impairments, and the number of school professionals, along with demographic data and professional backgrounds. Ethical considerations are also mentioned in this subsection. The research tools are presented in the fourth subsection. Last, the methodology for the data collection procedure and analysis is exemplified in the fourth and fifth subsections, accordingly.

3.1. Workshop Description

The papier mâché sculpting workshop includes a list of materials needed and instructions to create the papier mâché. Materials include used paper (old books, old mail, catalogues, magazines, and so on) or toilet paper, a food blender, a basin, a strainer, single-use gloves, and white book-binding glue (PVA). The users cut the papers into small pieces and soak them in warm water, preferably overnight. Then, they put in the blender one part pieces of soaked paper with three parts of water, and blend until it becomes a pulp. If they use toilet paper, the same effect can be achieved by melting the paper with their hands. They strain the pulp and press with their hand to remove most of the water. Water should not drip. They add white book-binding glue (PVA) and mix it well by hand. The amount used should be what will give a uniform texture of pulp that will not rub off as they create the project. They can color the sculpture before and/or after the papier mâché artwork dries.

3.2. Sample

The workshop was organized at the Special Kindergarten of Komotini, Greece. One of the organizers had recently finished her internship at the kindergarten as part of her studies at the Department of Social Work of the Democritus University of Thrace. Although this might be considered as a fact risking the research’s bias and ethics, we acknowledge that due to the particularity of the setting and the specific population, this prior connection with the institution was helpful to access the field and foster collaboration.

All the children and the professionals of Komotini’s Special Kindergarten participated in the workshop, that is, six children and nine professionals. The kindergarten’s professionals cover several work areas needed for its operation. More specifically, the headmistress, who is also a teacher, took part. Furthermore, there were three special teachers, a psychologist, a speech therapist, an ergotherapist, a social worker, and a nurse. Six of them participated in the evaluation survey where basic demographic data were gathered. Four of them were women, and two were men. Two were between 20 and 30 years old, three between 31 and 40 years old, and one between 51 and 60 years old. Regarding their professional experience, two were rather new at the job, with 1 to 3 years of experience; three were more experienced, with 5 to 10 years of work; and one had over 10 years of experience.

The impairments of the participating children included autism, intellectual retardation, Rett syndrome, and tetraplegia. Three children had differing levels of autism. Autism “refers to a broad range of conditions characterized by challenges with social skills, repetitive behaviors, speech, and nonverbal communication” [49]. The International Classification of Functioning, Disability and Health (ICF-CY) of the World Health Organization (WHO) classifies autism under the global psychosocial functions. These are “General mental functions, as they develop over the life span, required to understand and constructively integrate the mental functions that lead to the formation of the personal skills needed to establish reciprocal social interactions, in terms of both meaning and purpose” [50]. One child had intellectual retardation, which concerns the “General mental functions, required to understand and constructively integrate the various mental functions including all cognitive functions and their development over the life span” [51]. Another child had Rett syndrome, which is a rare genetic neurological disorder that affects primarily brain development, but also causes problems in other functions, such as breathing and walking. It appears mainly in girls from a very young age [52]. Last, one child had tetraplegia due to premature birth. Tetraplegia, also called quadriplegia, “is a symptom of paralysis that affects all a person’s limbs and body from the neck down” [53].

Although the impairments were known to the organizers before the workshop implementation, it was agreed to follow the instructional model that the school follows in their daily activities. The participating children of the Special Kindergarten were in the same classroom at the same time, along with the professionals.

Before the workshop, specialized consent forms were sent out through the headmistress to the children’s parents. It should be noted that it was not feasible to communicate the official consent form of Craeft to the parents. The headmistress found that the text was very formal, legal, and might have scared the parents. This relates to two factors connected with the specific social context. First, many parents belong to the local Roma or Muslim community, some of whom cannot speak or read Greek. Second, as the kindergarten is the first formal educational step for the children, the parents should also familiarize themselves with the formal processes of the educational system. To comply with research ethics, the headmistress formulated a consent form that included the most important aspects and distributed it to the parents. More details about the project were offered verbally. Fortunately, everyone signed.

3.3. Research Tools

Observation [54] took place during the workshop to see how the children engaged with the papier mâché as a material and sculpting as a process. Photographic documentation of the workshop and space aimed not only to document the event but also see if the images can offer more information through visual analysis of the event and its environment [55]. For the workshop’s evaluation, a mixed-methods survey with qualitative and quantitative questions [56] among the school professionals was conducted. The survey was anonymous and was divided into three sections. Part A regarded general information of the participants, including gender, age, and years of professional experience. Part B concerned the organizational part of the workshop. It consisted of three quantitative questions with five scales addressing the general organization of the workshop, its adjustment to the children’s needs, and the possibility of repeating it in the future. A yes or no question aimed to see if the employee had previously participated in a similar workshop. Finally, an open-ended question regarded future recommendations for improvements. Part C was intended to learn more about the school professionals’ perception of the workshop’s potential contribution in special education, and in this matter, at a kindergarten level. It included three quantitative questions with five scales addressing the children’s participation, socialization, and fine-motor skill development. An open-ended question at the end of the survey was targeted to learn if they observed any changes in their classroom in the following days after the workshop. Last, an Excel program was used for implementing a central storage for observations and categories that arose through the research.

3.4. Data Collection Procedure

A workshop at the premises of Komotini’s Special Kindergarten was organized on Tuesday 4 February 2025. The workshop took place in the kindergarten’s large classroom after the children’s snack time. After a brief oral introduction to Craeft and the workshop’s aims, the workshop started. One of the organizers focused on demonstrating and helping with the implementation of the workshop, and the other focused on observation, note taking, and photographic documentation, and also helped when needed. Some school professionals also took photographs for their purposes which we later exchanged for our archives and research purposes.

To evaluate the workshop, an interview with the headmistress at the end of the workshop was scheduled. Nevertheless, because of her unexpected duties that day and the organizers’ better perception of the context and workplace, it was decided to conduct a mixed-methods survey among all the professional participants. The evaluation survey was sent and received through email. Six out of the nine professional participants answered the survey.

3.5. Data Analysis Procedure

Qualitative data were gathered through the observation notes and the analysis of the photographic material. Regarding the visual data, first, a selection of photographs took place. The photographs were arranged in temporal order, as the depicted scenes occurred approximately on the day of the event. Then, inventory was carried out to identify the people, actions, and expressions, as well as objects, materials, and colors. The inventory was conducted using Microsoft Excel. After coding the inventory, a more focused analysis took place according to the initial hypothesis. For the quantitative data of the evaluation survey, parallel mixed analysis [56] of the collected data took place. The data were inferred through the Excel-based storage where specific metrics per participant were recorded and analyzed using the software’s abilities to visualize the results of each section.

4. Results

This section presents the overall results of the study after the analysis of the mixed-methods data that were collected. It is separated into six subsections, referring to the categories that occurred during the analysis. These are communication, participation, socialization, hands-on experiences with materials, gestures, and feedback about the workshop’s organization. The results are accompanied by visual material in the respective subsections and tables indicating the quantitative results.

Table 1. School professionals’ perception of the workshop’s potential contribution in special education.

Participants n = 6
Topic	Extremely Agree	Agree	Neutral	Disagree	Extremely Disagree
Participation	33% (2)	67% (4)	0	0	0
Socialization	33% (2)	50% (3)	17% (1)	0	0
Motor skills development	33% (2)	67% (4)	0	0	0

(below) is referenced throughout several subsections of the Results.

4.1. Communication

Although the aspect of communication was not taken into account in the early assumption before implementing the workshop, it became apparent through the analysis that it was a central feature and was exemplified through a variety of channels and modes.

More precisely, the visual analysis showed that the school professionals communicated with the children not only verbally but also physically. That means that the professionals were in constant movement, taking care of the children, and showing and explaining to each child the material and sculpting instructions. Figure 1 and Figure 2 show this situation. Although Figure 1 focuses on the action of the papier mâché preparation by the organizers, in the background, one child can be seen sitting on his chair and touching the professional’s hand with the back of his head. Figure 2 illustrates more explicitly the direct connection between professionals and children. One professional holds the pupil in her lap while the child touches her hands as she holds a cutting mold shape. At the same time, another professional shows, with his finger, the papier mâché placed on the table that is ready for sculpting.

Visual communication and representation are also evident in the classroom As shown in Figure 3, one of the walls is covered with a textile, and it displays colorful educational drawings.

4.2. Participation

Observation showed that the children did not seem to fully participate in the workshop. This was contradicted by the results of the evaluation survey among the school professionals, where 67% agreed that the children participated in the workshop as much as each could, taking into account their impairment (Table 1). The visual analysis further enhanced the professionals’ belief. Photographic documentation indicates that all the participants (professionals, children, and organizers) were active during the workshop through making gestures. Figure 4 shows a child’s hands after sculpting and Figure 5 shows the final craft objects.

4.3. Socialization

Visual analysis notes that the connection between professionals and children was evident through the workshop because the children were in constant communication with them (see also results of Section 4.1. Communication). Furthermore, one of the organizers interacted with a child diagnosed with a mild intellectual disability. While taking photographs for documentation, the child showed an interest and curiosity of what was going on. The organizer addressed her curiosity and showed her the LCD camera she was using and how it worked. By activating the Live View feature, the child had the opportunity to see through the lens, and after further instructions from the organizer, she took a photograph herself. Upon seeing the result, the child was thrilled through this interaction with the organizer and a new tool/process. This instance is considered a positive outcome on the specific child’s socialization because it shows its interaction with a new person.

Observation and professionals’ comments indicate that the smooth implementation of the workshop without crises was a good outcome. As they explain, often the children get tired or are irritated by new experiences, and thus they burst into tears or experience yelling crises. For this reason, they saw the workshop as a successful opportunity for the children to meet new people and have new experiences. This was evident through the evaluation survey results showing that half of them agree that the workshop contributed to the children’s socialization (Table 1).

4.4. Hands-On Experiences with Materials

Through the workshop, the children had the opportunity to learn about new materials and, subsequently, develop different sensory experiences. They touched and felt four different textures: the soaked paper pieces, the handmade paper pulp, and industrial and handmade papier mâché. Each child had different reactions, and, for some, the professionals had to be especially vigilant to ensure the materials were not placed in their mouths or ingested. Through observation, the children seemed enthusiastic and intrinsically motivated to explore new substances. One of professionals noted in the evaluation survey that the handmade papier mâché’s texture was a bit sticky and felt uncomfortable. Thus, it is suggested that more attention be paid to this in the future.

4.5. Gestures

Observations of the children’s hand gestures during sculpting indicated that these predominantly consisted of pressing the material against the table and rolling it in their hands. It should be noted that the observed hand gestures seemed to align rather with the age of the participants than with their abilities. Nevertheless, 67% of the school professionals agreed that even this interaction and making process contributed to the children’s motor skills development (Table 1).

4.6. Workshop Organization

The school professionals found that the workshop was well organized and generally adapted to the children’s needs (

Table 2. School professionals’ perception about the workshop organization.

Participants n = 6
Topic	Very Good	Good	Medium	Bad	Very Bad
Overall organization	50% (3)	50% (3)	0	0	0
Topic	Yes	Probably yes	Neutral	No	Probably no
Adaptation to children’s needs	50% (3)	50% (3)	0	0	0
Future repetition	50% (3)	50% (3)	0	0	0
Past participation in similar workshop	33% (2)	N/A	N/A	67% (4)	N/A

). One of them highlighted the importance of further adapting the workshop to address the individual needs of each child, considering their specific impairments. Although 67% of them had not participated in a similar workshop in the past, they stated that they would probably take part again in the future (Table 2). When asked if they had further comments regarding the aftermath of the workshop, one mentioned that they did not observe any change in their routine.

5. Discussion

The main research goal was to see if a craft-related activity could offer new experiences to children with intellectual and motor impairments in several domains of their development, including social life, manual skills, and learning opportunities. Multifold communication seems to have been one of the evident aspects of the workshop through observation and visual analysis. Oral communication occurred between professionals and children, between professionals and organizers, and between organizers and children. Physical communication focused on the relations between school professionals and the children. Visual communication was apparent through the classroom decoration and arrangement. The preparation of a suitable environment aligns with the aspect that Hart and Drummond [18] mention regarding “understanding the connections between classroom conditions and the states of mind that affect young people’s ability and willingness to invest in school learning” (p. 412). It should be noted here that this environment is not different from a mainstream kindergarten classroom.

Furthermore, those types of communication seem to have fostered the socioemotional development of children and contributed not only to their direct and effective interaction within a group but also led to their participation in a learning activity. Expressive and receptive communication [30,42,46] was evident through the engagement of children with the papier mâché and the ability of each child to follow instructions about making their craft project through verbal information, physical directives, and visual examples.

Crafting though, is not just about constructing an object but rather going through a process of making that offers mental, intellectual, and social skills [33]. Thorlindsson et al. [35] showed through their research that high levels of craftsmanship exemplify high levels of students’ participation in sports and school performance. Based on the evaluation by the school professionals, it can also be suggested that the participation of all children was linked to the creative activity of crafting and exploring new materials.

The literature has shown that art activities are beneficial for the development of social skills for all people [31], including those with impairments such as psycho-motor or tetraplegia [42,43,44,45]. We consider the fact that there were no crises during the workshop, an indication that the children felt comfortable among people they knew (the school professionals) and new people (the organizers).

Another aspect pointed out by the literature on art and its relation to special education is the learning outcome. Studies have shown that crafts foster a holistic learning experience because they affect cognitive, affective, and psychomotor functions [33,34]. Furthermore, Bingham et al. [42] note that exposure to different techniques and materials is an advantage of art activities. The role of materials in the emotional state and self-expression is also highlighted in the context of art therapy [32]. In this respect, the school professionals found that the workshop contributed to the development of the children’s motor skills through experiencing new materials and the making process.

Overall, it should be reminded that the workshop and its evaluation were limited to a one-time activity with only a small sample of participants in the context of Craeft, a Horizon Europe research and innovation program focusing primarily on craft understanding and knowledge transmission. Furthermore, it should be highlighted that the research offered insight related to craft, rather than art, activities, as craft activities are a very under-researched area. In sum, for the pupils of Komotini’s Special Kindergarten, the workshop offered a new experience to the children through the introduction of new materials and people to their educational context. For the professionals, although they had not participated in a similar workshop in the past, mentioned that they would take part again in a similar one. While they had the opportunity to learn a new creative way to reuse the recycled paper produced through their everyday activities, at this moment, we cannot measure and evaluate their intention to recreate such a workshop on their premises and integrate it into their activities. Nevertheless, they think that the workshop was well-organized and adapted to the children’s needs. For the children, the workshop proved to be a suitable activity that promoted participation, socialization, and the development of their motor skills.

Nevertheless, more research can offer more concrete results on the topic. First, we propose similar follow-up assessments of the workshop in other schools to gather more data and be able to generalize these preliminary results. Second, upon a posteriori reflection, we acknowledge that incorporating a supplementary methodological approach would further enhance the research. More specifically, a larger and more long-term study could include two groups of pupils, including a control and a test group, to certify what kind of aspects affect children’s behavior and learning experiences (e.g., environment, familiarity with people, medical condition, and so on). Third, it seems that, at least in the early educational years, children have the same needs regardless of the special and mainstream educational context. Through this workshop, it was shown that the teaching environment is that of an ordinary kindergarten, that is, with colorful educational drawings on the wall, cutting mold shapes, short tables and chairs, and other related games lying around. Communication is better if performed verbally, visually, and physically to educate and make the children actively participate in an activity. The hand gestures of sculpting with papier mâché were primary and seemed to relate to the age and educational level rather than a special needs context. A more thorough study could organize parallel or comparative workshops between mainstream and special schools to better observe their differences and similarities.

Fourth, the context of special education became apparent through the close relationship of professionals and children, and the particular needs each child has, also concerning preventing crises. The unanimous agreement of the professionals concerning the active participation of all children justifies the literature assumption that success in special education is measured through the learner’s engagement level in an activity [25]. Furthermore, the notion of the educational “ceiling” that people with impairments are expected to reach throughout their lives seems relevant to the care and learning activities that people are exposed to from an early age. This could be further addressed from more focused research on learning abilities and development through several ages.

Last, a recurring comment in the literature is that there are no sufficient long-term studies regarding the impact of specific educational activities and processes in relation to particular impairments [10,22]. This was evident through our short research, as well. We suggest that regarding crafts and special education, more research should focus on craft-related specificities about different impairments, such as with material textures and hand gestures. We find that the sense of touch might offer different psycho-motor experiences, as well as support different types of gestures. Making, on the other hand, is an intellectual and motor process that can foster benefits tailored to the individual’s development.